But they can’t be bothered to do anything about the graffiti artists. Apparently they consider them beneath their dignity. So the walls are covered with overlapping scrawls of names and boasts and urgent messages from the subconscious of the Nightside. Meet the new Walker, same as the old Walker. Razor Eddie does it with surgical precision. Supersexuals of the world unite, you have nothing to lose but your inhibitions. Where have all the elves gone and who do we go to to say thanks? And, a bit intriguingly, Let the sunshine in.
And, of course, the inevitable buskers. I think the poltergeists let them hang around to brighten up their endless job. But only as long as the musicians maintain a professional standard. The untalented and overambitious can often be seen hobbling out of the underpass with their instruments stuffed where the moon doesn’t shine. I dropped the odd coin in every other cap or outstretched hand I passed, on the grounds that the wheel turns for all of us, and karma can be a real bitch. The only difference between any of us and the homeless is one really bad day.
The usual buskers lined the way, giving it their all, such as it was. A trio of Greek Muses were singing a ska version of the “Ballad of Eskimo Nell,” in close-part harmonies. Complete with gestures. A ventriloquist with a vampire dummy had the dummy singing “Love You till the Sun Comes Up Again,” while drinking a pint of blood. An old-fashioned ghost with its head stuck underneath its arm was singing “I Got You, Babe,” in a duet with itself. And a punk barber-shop quartet were making a real mess of that old punk favourite, “She Fucked Me with a Chain-saw and It felt Like a Kiss.” A little style can be a dangerous thing.